Frans Masereel – { feuilleton }

Weekend links 247

Encounter with the Priestess by Robert Buratti.

• “We were gothy, we loved the New York thing and people like Suicide, Dave loved Throbbing Gristle, we both loved the Sheffield bands…we loved the darkness to that kind of electro.” Marc Almond talking to Simon Price. Also at The Quietus, Cat’s Eyes choose their favourite soundtracks.

• “When he reveals that all he wants is to deliver a breakfast sandwich, the enigma of his desire is not so much dispelled as redoubled—why on earth would anyone want to do that?” Adam Kotsko on the unheimlich nature of old Burger King ads.

• “…commercial design is full of politics, to be a commercial designer is a political decision.” Jonathan Barnbrook talking to Katrina Schollenberger.

You need to know who Billy Wilder was. You need to know the names of people who are no longer alive. Because it’s very important—it’s what our history is made of. You need to see the movies the way they were—with the racism, the violence, and the censorship. All the things that let you see what the movie past had been so you understand where we are! But really nobody’s interested in that right now. Their interests are so bifurcated.

Joe Dante discussing film production past and present with Michael Sragow.

• From 1983: The Encyclopedia of Ecstasy, Vol. 1, a publication which creator Alistair Livingston describes as a “psychedelic goth punk fanzine”.

• Mixes of the week: No One’s There, a collection of post-punk electronica by Abigail Ward, and Secret Thirteen Mix 146 by Te/DIS.

• Frans Masereel’s My Book of Hours is “a crucial example of the power of stories without words,” says Stefany Anne Golberg.

• Miles Davis and band in concert, 18th August, 1970. Pro-shot, 45 minutes.

• Lots of good reading and cultural connections at Celluloid Wicker Man.

• A world map of micro-nations

• Tokyo in dense fog

• Tainted Love/Where Did Our Love Go? (1981) by Soft Cell | Tainted Love (1985) by Coil | Titan Arch (1991) by Coil with Marc Almond

Gods’ Man by Lynd Ward

I’ve never tried woodcut engaving—the closest was scraperboard and some linocuts when I was a teenager—but I’ve always admired the form and Lynd Ward (1905–1985) was one of its masters. Ward’s wordless “novels” were inspired by the similar work of Frans Masereel and you can see pages from two of these, Gods’ Man (1930) and Madman’s Drum (1930) at The Visual Telling of Stories. Ward’s work is frequently referred to as an inspiration by later illustrators, and comic artists especially have responded to these pictorial narratives. Woodcut illustration had a resurgence of popularity before and after the Second World War; most of MC Escher‘s early work is woodcut engraving, for instance. There are still a few contemporary practitioners, Clifford Harper being one of the most visible in the UK.

• Bud Plant’s Lynd Ward page
• A Lynd Ward site with examples from other books

Elsewhere on { feuilleton }
• The etching and engraving archive
• The illustrators archive

Frans Masereel’s city

Pages from Die Stadt (1925), a “novel in woodcuts” by anarchist artist Frans Masereel (1889–1972). See the other ninety-six pages here. And by the same artist, Die Idee.

A pacifist in World War I, he tried to make his art accessible to the ordinary man. His works were banned by the Nazis and widely distributed in Communist countries. But he rejected “political” art and party affiliation, condemning all enslavements, oppression, war and violence, injustice, and the power of money.

Elsewhere on { feuilleton }
• The etching and engraving archive